The Auditory

“The live performance of the “chamber symphony” provides all sorts of problems” says John Adams in the liner notes of a new CD released this week by Nonsuch Records. However, he proves the contrary with this recording as he effortlessly combines new and old sounds for a fresh arsenal of chamber music. The album includes Adam’s second chamber symphony entitled Son of Chamber Symphony, performed by the International Contemporary Ensemble, as well as a String Quartet performed by the St. Lawrence String Quartet.

Son of Chamber Symphony, a companion to his 1992 chamber symphony, opens the CD with a bouncy yet propelling rhythmic-feel (long-short-short) as the instrumental colors are enhanced by octave juxtaposition. As the solo instruments show-off their daredevil chops the ensemble indulges in Adams’ clever nod to Beethoven’s Ninth Symphony. Higher instruments can be heard percussively with large “klacks” of color. The second movement contrasts this cataclysm with long, lyrical passages shared by woodwinds and strings. Written with the intention of it being performed as ballet Adams’ weaves the perfect mix of atmosphere and movement. I’ll allow you to assess the third movement for yourself…

Adams wrote the String Quartet for the St. Lawrence String Quartet who said “stimulated my imagination to write something tailored to their exceptional blend of rhythmic drive and high-drama lyricism.” Adams certainly delivered. Unlike many of his other works that have seemingly programmatic titles, Adams decided to be a little more “traditional” and stuck with the generic - a tribute to more classical forms. However, this work is far from a traditional. The piece is laid-out in two movements: rather “asymmetrical” as he describes it.

In this work Adams is able to deploy a wide variety of color choices along with fierce rhythmic and lyric episodes. The first movement starts off propelling like an “engine” a trademark characteristic of his “minimalist past.” This secure sounding motiv then begins to feel weak as the piece seemingly “erupts” with similar dance steps as the chamber symphony. The first part ends finally settling down from its sugar high.

The second part begins with a “nervous staccato” just waiting to unleash a burst of melodic material. Timbres and colors in this section and throughout the quartet seem almost uncharacteristic of many Adams’ works (more like Shostakovich) but never ceases to come back around with this own signature soundscape. Chamber music seems to be right in the ball park for John Adams as he departs from his normal operations - working on a “large canvas of orchestral and operatic forms.” 

- Daniel